Relevant bibliographies by topics / Film-Thriller

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Film-Thriller'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Film-Thriller.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Film-Thriller"

1

Pratiwi, Mulyani, Yoki Yusanto, and Husnan Nurjuman. "Konstruksi Maskulinitas Perempuan Melawan Tindak Kekerasan pada Film Thriller." KOMUNIKA 8, no. 2 (2021): 138–49. http://dx.doi.org/10.22236/komunika.v8i1.5670.

Full text
Abstract:
Di tengah konstruksi yang berlangsung di masyarakat tentang perempuan sebagai makhluk yang indah dengan karakter lemah lembut, manja, dan situasi memburuknya berbagai tindak kekerasan dengan memposisikan perempuan sebagai korban, Film Marlina Si Pembunuh Dalam Empat Babak justru hadir dengan sebuah konstruksi tentang maskulinitas perempuan. Tulisan ini menggambarkan suatu riset yang bertujuan untuk mengetahui konstruksi maskulinitas perempuan dalam melawan tindak kekerasan terhadap perempuan. Penelitian tersebut merupakan suatu analisis semiotika terhadap berbagai adegan dan dialog dalam film Marlina Si Pembunuh Dalam Empat Babak karya Mouly Surya dengan pendekatan kualitatif yang kemudian dibedah dengan analisis yang dilandasi teori Konstruksi Sosial Realita pemikiran Peter L. Berger dan Thomas Luckmann. Kajian dalam penelitian ini juga menghubungkan antara proses konstruksi realitas yang terjadi melalui film ini dengan fenoemena maraknya tindak kekerasan yang terjadi pada perempuan. Hasil penelitian yang dapat diidentifikasi antara lain 1) Film Marlina Si Pembunuh Dalam Empat Babak telah mengkonstruksi maskulinitas perempuan dengan beberapa karakter, antara lain a) bersikap tenang, b) mandiri, c) keberanian, d) sedikit bicara, e) berpikir praktis dan simpel, f) woman power. 2) Maskulintas Perempuan sebagai realitas objektif yang dimunculkan dalam film Marlina Si Pembunuh Dalam Empat Babak merupakan bagian dari suatu proses eksternalisasi sebagai bagian dari Konstruksi realitas. Eksternalisasi berupa interaksi sutradara dan pembuat film dengan realitas a) gagasan kesetaraan gender, b) fenomena kekerasan terhadap perempuan, c) konsep maskulinitias. 3) Konstruksi maskulinitas perempuan pada film Marlina Si Pembunuh Dalam Empat Babak merupakan suatu konstruksi yang mencoba menghapus konstruksi sebelumnya tentang perempuan sebagai makhluk yang lemah.
APA, Harvard, Vancouver, ISO, and other styles
2

Bernstein, Matthew H. "The Lives of Others: Matthew H. Bernstein on an Emotive Surveillance Thriller Set in Communist East Germany." Film Quarterly 61, no. 1 (2007): 30–36. http://dx.doi.org/10.1525/fq.2007.61.1.30.

Full text
Abstract:
ABSTRACT This essay explores the film allusions, plot turns, hierarchies of knowledge, and most of all the multiple ironies that contribute to the extraordinary impact of Florian Henckel von Donnersmarck's surveillance thriller set in Communist East Germany.
APA, Harvard, Vancouver, ISO, and other styles
3

Castrillo, Pablo. "Towards a narrative definition of the American political thriller film." Communication & Society 28, no. 4 (2015): 109–23. http://dx.doi.org/10.15581/003.28.4.109-123.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Clavin, Keith. "Narrating risk: the financial thriller film during the U.S. recession." Textual Practice 31, no. 3 (2017): 477–90. http://dx.doi.org/10.1080/0950236x.2017.1294893.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Ihidero, Victor Osae. "Terror thrillers and tradition: a postcolonial reading of selected African cinema." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 7, no. 1-2 (2020): 153–68. http://dx.doi.org/10.4314/ejotmas.v7i1-2.10.

Full text
Abstract:
Nigeria, Kenya and Somalia are few of the countries in Africa faced with terrorism and militancy. The rise and expansion of terrorist groups such as Al-Shabaab, Boko Haram, the Niger-Delta Volunteer Force, the Islamic State West Africa Province (ISWAP) and recently, the Avengers, has risen to vent terror on the peoples of Nigeria, Kenya and Somalia. Whilst each of these countries has its own distinct challenges that led to the formation of such terrorist groups, the emergence of terrorism in Nigeria remains complex. One of the ways an explicit explanation has been given to these complexes in Nigeria is through thriller fiction. Nollywood as well as other film industries in Africa has produced several thriller fictions that attempt to explicate the reasons behind militancy and terrorism in Africa. October 1 and Eye in the Sky are two examples of African cinema that have attempted to film the recent rise of terrorism in Nigeria and Kenya. Within the lens of October 1, terrorism in Nigeria, and by extension Africa, is rooted on ethnic and religious divide fuelled by external contact with other cultures; in this case, the culture of imperial England. This study, using the premise of postcolonial reading, examined Kunle Afolayan's award winning terror thriller, October 1 and attempted to bring out the powercultural interplay that bred terrorism in Nigeria. The study found out that the ideology of Boko Haram ("Western education is a sin") terrorist group, as bad as it seems, is a postcolonial stance against [neo]colonialism. However, the ideology lost its steam because it failed to reassert the Nigerian humanity or show any humanist tendencies to reclaiming the African glorious past.
 Keywords: Terror thriller, Traditionality, African cinema, Postcoloniality, Terrorism
APA, Harvard, Vancouver, ISO, and other styles
6

Castrillo, Pablo. "The post-9/11 American political thriller film: Hollywood’s dissident screenplays." Journal of Screenwriting 11, no. 2 (2020): 191–206. http://dx.doi.org/10.1386/josc_00025_1.

Full text
Abstract:
The American political thriller, from its cinematic beginnings in the 1960s until its most recent period of popularity in the late 2000s and the early 2010s, has consistently displayed two salient characteristics: on an extra-textual level, it tends to keep a close relationship with the (geo)political environment at the time of production, with themes that resonate with the cultural moment, sometimes even referencing current events, and frequently challenging traditionally upheld American values with mistrustful attitudes towards the State, its institutions, the military and a suspect corporate establishment. On the other hand, the textual configuration of these films reveals a certain nonconformity with the traditionally dominant narrative-aesthetic norms of Hollywood cinema, featuring reactive agency in its protagonists, an unusual degree of subjectivity in its narration and a remarkable degree of ambiguity in the dramatic resolutions of some storylines. These formal features enhance the thematic concerns and cinematic worldview of the political thriller genre, both creating and exploiting perplexity and paranoia in the audience, through highly demanding narratives that remove the feeling of control from the viewer, and with a specific political intent that becomes exceptionally effective thanks to its entertainment value. The works analysed to illustrate this trend covers theatrically released Hollywood films of the genre from 2001 until the present day, with special attention on the impact of 9/11 and the War on Terror in their narrative premises and themes.
APA, Harvard, Vancouver, ISO, and other styles
7

Wilson, Rob. "Snowpiercer as Anthropoetics." boundary 2 46, no. 3 (2019): 199–218. http://dx.doi.org/10.1215/01903659-7614219.

Full text
Abstract:
Crazed with extremity of affect, thriller action, and a cosmopolitical style as befits the Korean-global blockbuster mode of auteur production, Bong Joon-ho’s 2013 film Snowpiercer also prods its audience to confront looming conditions of global warming, ecological disequilibrium, class and resource warfare, trans-species bonding, and the planetary horizon of the Anthropocene.
APA, Harvard, Vancouver, ISO, and other styles
8

Park, Douglas, and Dawn Dietrich. "In the Cut." Film Quarterly 58, no. 4 (2005): 39–46. http://dx.doi.org/10.1525/fq.2005.58.4.39.

Full text
Abstract:
Abstract Jane Campion's newest film, In the Cut, confounded critics, as it leaves her familiar territory of Anglo Australia and a high literary mode for New York City and the pop culture associations of a slasher/thriller. Transcending genre, the screenplay and cinematography unconventionally render a psychic landscape of female desire and romantic longing surviving in a male urban wasteland.
APA, Harvard, Vancouver, ISO, and other styles
9

Schäfer, Horst. "„Das Kino heißt jetzt Tengelmann“. Kino-Nostalgie im Film – Ein Essay." Medienwelten – Zeitschrift für Medienpädagogik, no. 10 (March 5, 2019): 107–16. http://dx.doi.org/10.13141/zfm.2019-10.3171.

Full text
Abstract:
Neben seinem Gebrauchswert als Ware impliziert das Medium Film künstlerische und kulturelle Aspekte. Das trifft gleichermaßen für das Kino zu; es ist seit seinen Anfängen Teil der Filmkultur. In un­zäh­ligen Filmen werden die Geschichte und Gegenwart des Kinos selbst zum Sujet: als Schauplatz des Geschehens im Genre­filmen von der Love-Story bis hin zum Thriller. Oft sind es kino­nostal­gische Rückblicke auf die Kindheit oder Jugendzeit in struk­turschwachen Regionen, in denen das Kino der Mittelpunkt des Ortes und ein beliebter Treffpunkt war.
APA, Harvard, Vancouver, ISO, and other styles
10

Kessler, Kelly. "Bound Together." Film Quarterly 56, no. 4 (2003): 13–22. http://dx.doi.org/10.1525/fq.2003.56.4.13.

Full text
Abstract:
While many recent male-directed lesbian-couplefocused films contain murdering or violent lesbians, the dyke mob thriller Bound stands apart. This study analyzes the film in terms of three issues—the presentation of the female body and lesbian sex, stereotyping, and a caricature of the gangster genre—and shows how Bound avoids selling out to or alienating the mass audience while successfully providing a needed space for polyvalent identification and pleasure.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Film-Thriller"

1

Lopez, Laura. "BAKER:THE MAKING OF AN INDEPENDENT THRILLER." Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2096.

Full text
Abstract:
Baker is an independently financed low budget film that examines the ambiguous nature of compassion in the day-to-day life of hospice care personnel. The creation of the film entailed three stages: pre-production, production and post-production in which numerous artistic, financial and logistic challenges arose and threatened the completion of the picture. The complex nature of the subject matter required particular attention to the structure of the script. The budgetary restrictions enforced a minimalist approach to locations as well as other creative considerations such as the size of the cast and period setting. The shooting location dictated the framework of the aesthetic approach in design as well as in mise-en-scene for the film. The post-production phase redefined the film once the structure became dependant on the relationship between footage and aural elements rather than on the blueprint of the script. This artistic journey imposed a need for creative problem solving and adaptability. The process of working on Baker allowed me to have a full understanding of my role in the collaboration with talent, the management of crew and my creative duty to maintain the essence of the script while realizing my artistic vision. The overall experience has deepened my commitment to storytelling in the collaborative art of cinema. The result is a highly personal expression of my voice as a director, a female, and social critic<br>M.F.A.<br>School of Film and Digital Media<br>Arts and Humanities<br>Film and Digital Media MFA
APA, Harvard, Vancouver, ISO, and other styles
2

Krutnik, Frank S. "'In a lonely street' : 1940's Hollywood, film noir and the 'tough' thriller." Thesis, University of Kent, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.253422.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Goldthwaite, Sean Henry. "The Mnemosyne Victim." Digital Commons at Loyola Marymount University and Loyola Law School, 2012. https://digitalcommons.lmu.edu/etd/123.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Cliffe, David. "Thriller, horror, hacker, spy : the 'hacker' genre in film and television from the 1970s to the 2010s." Thesis, De Montfort University, 2018. http://hdl.handle.net/2086/16358.

Full text
Abstract:
This thesis argues that hacking and surveillance have formed a ‘hacker’ genre in film and television that begins to emerge from the influences of 1970s films, forming between the 1980s and 1990s and continuing to develop through to the 2010s, grouping together computer hacking, surveillance and espionage as activities striving to achieve order over the ‘electronic frontier’. In particular, this thesis identifies how hacker genre films foreground and fetishise the technology of hacking and surveillance of the period of production, which inevitably leads to an in-built expiry date and limited shelf-life. Whilst these genre films draw on the crime, horror and thriller traditions to depict the tension and anxiety presented by the capabilities of this hacking and surveillance technology, as technology progresses and becomes more familiar to the audience, these films naturally lose their ability to elicit fear and terror from the viewer; instead these films become virtual parodies of their original intention. Moreover, the thesis maps the evolution and development of the generic features of the hacker film genre, charting the progression from passive observation to active intervention of the hacker figure; as the technology progresses, there is an increased sense of speed and mobility and the hacker emerges from small enclosed spaces to engage with the physical world. Similarly, the thesis considers the role of the ‘hacker figure’ in these films, using the viewer’s human connection to consider how this technology affects the user over time; considering the links to the thriller and horror traditions, this study considers the potential for the hacker to become dehumanised in using this technology.
APA, Harvard, Vancouver, ISO, and other styles
5

Urech, Chelsea. "This Won't Hurt." Digital Commons at Loyola Marymount University and Loyola Law School, 2019. https://digitalcommons.lmu.edu/etd/794.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Neal, Sarah Jane, and sarahneal@myplace net au. "Structuring the Thrill in the True Crime Story: An Analysis of how the substructures of the classic screenplay operate in the Thriller film." RMIT University. Creative Media, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080514.095721.

Full text
Abstract:
The research undertaken as the requirements of the degree is an analysis, evaluation and application of the usefulness of the substructures contained in the classic Thriller screenplay. The research identifies tools and techniques that the screenwriter can apply to the construction of a classically structured Thriller. These tools and techniques have been applied to the creation of an original feature length screenplay entitled Magnetic Fields. The substructures explored in this exegesis are those identified by screen theorist Dr Lisa Dethridge as being essential to the screenplay form, irrespective of genre. They are the premise, protagonist, dramatic problem and plot. The research identifies and defines each of these elements and examines for how they operate in the classic Thriller screenplay. Screen theorist and Thriller genre expert Neill D Hicks provides the theoretical structure for the classic Thriller. A case study, Heavenly Creatures (1994) written by Fran Walsh and Peter Jackson, illustrates the discussion of these substructures. The theories of Dethridge and Hicks are compared and evaluated for their usefulness in the construction of the original screenplay, Magnetic Fields. The story is loosely based on a true crime and the challenge in construction this screenplay was the process of identifying and employing the key conventions and techniques of the Thriller genre. Operating within the conventions of the classic Thriller enables the writer to address the requirements of both industry and audience. The film industry requires that a screenplay adhere to a number of standards relating to its format, length and the organisation of content. The audience, or the reader of the screenplay also has expectations. If a film is labelled a Thriller, the audience expects the story to provoke suspense and fear. They will expect to be thrilled. For the screenwriter to achieve this effect the research aims to prove the benefits of adhering to the structural conventions of the classic Thriller film.
APA, Harvard, Vancouver, ISO, and other styles
7

Olsson, Carl. "Sex, våld och genuskonstruktioner : En psykoanalytisk feministisk filmstudie." Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-10304.

Full text
Abstract:
I uppsatsen analyseras filmerna Thriller – en grym film och Exponerad utifrån feministisk teoribildning. Analysen utgår ifrån Laura Mulveys ”Visuell lust och narrativ film” och de freudianska analysverktyg vilka artikeln erbjuder. Dessa ställs vidare emot ytterligare feministisk forskning vilken möjliggör en diskussion kring den psykoanalytiska feministiska filmteorins trovärdighet.<br>This paper analyzed the films Thriller - a cruel picture and Diary of a rape with feminist theory. The analysis is based on Laura Mulvey Visual pleasure and narrative cinema and the Freudian way of analysis this article offers. These theories are also put up against further feminist film studies which enable a discussion of the psychoanalytic feminist film theory's credibility.
APA, Harvard, Vancouver, ISO, and other styles
8

Lynch, Paul. "The development of the British conspiracy thriller, 1980-1990." Thesis, University of Hertfordshire, 2017. http://hdl.handle.net/2299/18180.

Full text
Abstract:
This thesis adopts a cross-disciplinary approach to explore the development of the conspiracy thriller genre in British cinema during the 1980s. There is considerable academic interest in the Hollywood conspiracy cycle that emerged in America during the 1970s. Films such as The Parallax View (Pakula, 1975) and All the President's Men (Pakula, 1976) are indicative of the genre, and sought to reflect public anxieties about perceived government misdeeds and misconduct within the security services. In Europe during the same period, directors Costa-Gavras and Francesco Rosi were exploring similar themes of state corruption and conspiracy in films such as State of Siege (1972) and Illustrious Corpses (1976). This thesis provides a comprehensive account of how a similar conspiracy cycle emerged in Britain in the following decade. We will examine the ways in which British film-makers used the conspiracy form to reflect public concerns about issues of defence and national security, and questioned the measures adopted by the British government and the intelligence community to combat Soviet subversion during the last decade of the Cold War. Unlike other research exploring espionage in British film and television, this research is concerned exclusively with the development of the conspiracy thriller genre in mainstream cinema. This has been achieved using three case studies: Defence of the Realm (Drury, 1986), The Whistle Blower (Langton, 1987) and The Fourth Protocol (MacKenzie, 1987). For each case study chapter, interviews have been conducted with the film-makers in order to gain insight into the aims and motivations that underpin each film. As well as employing these first-hand accounts of the production contexts, close analysis of film style is provided in order to understand the ways in which the British genre is informed stylistically by its Hollywood and European forebears. This means that for the first time, the British conspiracy cycle can be understood within a wider historical and cinematic context. Detractors of the conspiracy genre argue that it offers audiences a simplistic view of complex political events. We will reflect on this criticism and evaluate the extent to which the British films provide meaningful political comment within the conventions of mainstream cinema.
APA, Harvard, Vancouver, ISO, and other styles
9

Armstrong, Shayne. "Beast Sellers: The Necessary Evils of Paratexts in the Development and Marketing of the Horror-Thriller Screenplay." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16446/.

Full text
Abstract:
Monster Business is a feature film project comprising a horror-thriller feature screenplay and an accompanying exegesis. The screenplay is about a best-selling author who is behind on the delivery of the sequel to his money-spinning first novel and is made an offer by an enigmatic stranger to help rearrange his working environment to facilitate the rapid completion of the manuscript. Over the coming hours, then months, the author discovers just how far the stranger will go to complete the terms of this bizarre and brutal new contract. This accompanying exegesis examines a series of 'paratexts' (a logline, a one-pager and a treatment) that the screenplay has given rise to. The thesis argues that the role of the screenwriter does not end with the production of the core text--the screenplay. Instead, in order to support the development and/or the marketing of the script into a feature film, the screenwriter is an ongoing generator of supplemental documents or paratexts. The paper explores the status and function of paratexts (loglines, onepagers, treatments and explanatory development notes). It further argues that developmental paratexts are a necessary evil, providing a sifting or culling mechanism for producers and production executives, and that they are intended to guide a project toward being 'greenlit' but will more often have, at best, benign or, at worst, negative or destructive effects on its development. In this way, developmental paratexts, although ubiquitous and pro forma, are inherently problematic.
APA, Harvard, Vancouver, ISO, and other styles
10

Dev, Namrata. "Malfunction." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/cmc_theses/2186.

Full text
Abstract:
Malfunction is a science fiction thriller that explores what the other extreme of mental health awareness could look like. A system that is TOO technologically equipped, proactive and sure in its ability to solve every mental health illness. but can such a perfect world ever exist? not everyone in this world has good intentions and if you try to go against the norm...you may not survive.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Film-Thriller"

1

Frank, Alan G. The thriller film guide. B. T. Batsford, 1997.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Luca, Servini, ed. Thriller italiano in cento film. Le mani, 2011.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Writing the thriller film: The terror within. M. Wiese Productions, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Writing the thriller film: The terror within. M. Wiese Productions, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

See©len, Georg. Thriller: Kino der Angst. Schu˜ren, 1995.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Donne in prigione: Nazisti, horror e fantascienza, thriller, decameroni e film esotici. Profondo rosso, 2005.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Psyco & Psycho: Genesi, analisi e filiazioni del thriller più famoso della storia del cinema. Le mani, 2010.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

The suspense thriller: Films in the shadow of Alfred Hitchcock. McFarland, 1988.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Stoker, Bram. Dracula: Authoritative text, contexts, reviews and reactions, dramatic and film variations, criticism. W.W. Norton, 1997.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Auerbach, Nina, and David J. Skal, eds. Dracula: An Authoritative Text, Contexts, Reviews and Reactions, Dramatic and Film Variations, Criticism. W.W. Norton & Co., 1997.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Film-Thriller"

1

Vibenius, Bo Arne. "Thriller: A Cruel Picture (Thriller — en grym film)." In 100 Cult Films. British Film Institute, 2011. http://dx.doi.org/10.1007/978-1-84457-571-8_90.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Labanyi, Jo, Antonio Lázaro-Reboll, and Vicente Rodríguez Ortega. "Film Noir, the Thriller, and Horror." In A Companion to Spanish Cinema. Blackwell Publishing Ltd, 2012. http://dx.doi.org/10.1002/9781118322765.ch9.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Jancovich, Mark. "“Psychological Thriller”: Dead of Night (1945), British Film Culture, and the 1940s Horror Cycle." In Speaking of Monsters. Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137101495_6.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

E. Moore, Ellen. "Imagining Disaster in the Eco-Thriller." In Landscape and the Environment in Hollywood Film. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-56411-1_4.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

E. Moore, Ellen. "The Spy Who Saved Me: Sustainability, Identity, and Intrigue in the Espionage Thriller." In Landscape and the Environment in Hollywood Film. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-56411-1_3.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

"The Film Thriller (1946)." In Hitchcock on Hitchcock, Volume 2. University of California Press, 2019. http://dx.doi.org/10.1525/9780520960398-011.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Vibenius, Bo Arne, and Xavier Mendik. "Thriller: A Cruel Picture (Thriller – en grym film)." In 100 Cult Films. British Film Institute, 2011. http://dx.doi.org/10.5040/9781838710545.0094.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Elliott, Paul. "The Heist." In Studying the British Crime Film. Liverpool University Press, 2014. http://dx.doi.org/10.3828/liverpool/9781906733742.003.0004.

Full text
Abstract:
This chapter evaluates the British heist film. The heist movie is more than a film about robbery and financial gain; it is a carefully constructed generic type that developed in the late 1950s and evolved from both Hollywood and European cinema. The image of the gentleman crook, the jewel thief, or safe breaker who remain undetected whilst carrying out their crime is an important one in both English and French crime fiction. It was Jules Dassin's 1955 film Du rififi chez les hommes, more succinctly known as Rififi, that set the tone, structure, and aesthetic for the heist thriller and ensured that it would become ‘an international cinematic genre’. Rififi contains the three main narrative stages that will come to typify the heist thriller: the plan, the execution, and the aftermath. These stages, although often varying in length, are present in most, if not all, heist thrillers and not only shape the audiences' expectations but propel the narrative forward. The chapter then looks at Basil Dearden's The League of Gentlemen (1960) and Jonathan Glazer's Sexy Beast (2000).
APA, Harvard, Vancouver, ISO, and other styles
9

Ercolani, Eugenio, and Marcus Stiglegger. "The Wandering Demon: Cruising as a Horror Film." In Cruising. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781800348363.003.0009.

Full text
Abstract:
This chapter defines Cruising as a horror film directed in the modus of a cop thriller. When analysed closely it becomes clear that not one but several killers roam the Meatpacking District of New York, and in the end even the protagonist might be infected by the killer virus. Friedkin uses the idea of a wandering demon from The Exorcist to place disturbing uncertainty in his film.
APA, Harvard, Vancouver, ISO, and other styles
10

Clavin, Keith. "Narrating risk: the financial thriller film during the U.S. recession." In Fiction in the Age of Risk. Routledge, 2020. http://dx.doi.org/10.4324/9781351026420-4.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Film-Thriller' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography